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< Back Tamera Avery SEP 21 - JAN 5 Tamera Avery: Slipstream The Triton Museum of Art presents Tamera Avery: Slipstream by Bay Area Artist, Tamera Avery. At once surreal and sublime, Tamera Avery's monumental paintings feature masked and costumed figures situated in liminal spaces. From glacial edges to post-nuclear bunkers, these environments are imbued with both potential and uncertainty: within them, young individuals navigate unconventional paths, transforming everyday objects into symbolic armor. Tamera Avery: Slipstream will be showcased in the Permanent Collection Gallery. Artist Statement: My work is a celebration of youth, where the young are the champions of change in flawed social, political, and environmental landscapes. Faced with ever-mounting global change, the young have the knowledge to understand what is at stake and—with their increasingly powerful voices—the ability to rearrange the balance of power. To shift this balance visually, my subjects wear masks and costumes that augment their agency and the space they take up. Originally prompted by folk carnivals celebrating the arrival of spring, I employ found images and objects along with homemade costumes to portray figures modest in composition but heroic in execution. Through a process starting with collage, isolated images function as vocabulary, deconstructing visual truths and reconstructing them into stories that call for action. Using imagery from the White House to Chernobyl, icebergs to abandoned ships, I work at the intersection of the current reality and the possibility of change to tell a story of hope in a landscape of despair—with armor-clad youth standing in the path of destruction. Previous Next

Rotunda Gallery EXHIBITION Seasons of Change Robert-Jean Ray DATES: SEP 18 - JAN 16 YEAR: 2021 Previously on view in the Rotunda Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Previous Next

Digital Gallery EXHIBITION SLVN MCHN Miha Sarani DATES: JAN 20 - MAY 12 YEAR: 2024 Previously on view in the Digital Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. I have always been enamored with music. For as long as I can recall, music play a significant part in our household. My father had an essential collection of record, which captured many various music styles - from Pink Floyd, Queen and Led Zeppelin, to Isaac Hayes, Cat Stevens and Rod Steward. I always loved the impact music could generally be within each of us. Naturally, I eventually began my own record - or rather CD - collection, and quickly incorporated my own musical tastes, such as Lou Reed, Nick Cave & the Bad Seeds, Iggy Pop, David Bowie, Roxy Music and Radiohead. Unlike with my painting practice, I never received any formal training. My wife Tomitha gave me a synthesizer as a Christmas gift one year, and I mostly began arranging sounds that intrigued me. About 10 years ago, while struggling to complete a painting I vented my frustration on the synthesizer keyboard. I was struck by a juxtaposition of sound and image. This fascination eventuality lead to my first exhibition “Trojan Soul,” where I created a soundtrack to help expand the viewer's temporal span. This became a watershed moment for me. For this project particularly, I focused on revisiting some influential concept albums of the 70’s era - such as Pink Floyd’s The Wall, Lou Reed’s Berlin and David Bowie’s Berlin Trilogy. I also reexamined The Smile’s A Light for Attracting Attention, and Jonny Greenwood’s You Were Never Really Here. I have always found that music communicates emotions in a more direct manner and can be more effective than painting because it unravels temporarily. With painting the audience experiences the aesthetic all at once, while with music the audience has to wait for what comes next - revealing itself over a course of time, thus allowing the audience to be moved, and captured by the unexpected. Still both artistic endeavors share commonalities as well. Where painting uses line and surface - or space - music employed sound and silence. Arrangements of either line/sound are both very intriguing to me as a maker, and painting with sound provides me with new opportunities and sets of challenges. I hope you enjoy this latest sonic exploration. Chapters 2, 3, 4, and 8 are currently on view. Chapters 5 and 6 will be added on February 20th. Chapters 1 and 7 will be added on March 19th Previous Next

ATTENTION ALL ARTISTS, friends of artists, and our arts community! It is time once again for the Triton Museum of Art’s Annual 2D Art Competition & Exhibition: Salon at the Triton 2024! This fan favorite is a wonderful showcase for some of the best talent around. In addition to place awards presented in five categories (painting, drawing, printmaking, photography, and mixed media), a Best of Show award winner will be selected and will receive a solo exhibition at the Triton Museum of Art!  Salon at the Triton 2024 Winners 2024 Salon at the Triton Selected Artists Abel Manalo Alicia Murphy Andrew Jackson Andy Forrest Anna Gelman Annette LeMay Burke Annie Haines Beth Fein Bibby Gignilliat Bing Zhang Brian Bounds Brigitte Carnochan Caren Wynne Catie O'Leary Chiachen Wang Christie Marks Christopher Newhard Cynthia Brannvall Dan Alcaxzar Daniela Schweitzer Darren Sears David Ruiz David Stonesifer David Stubbs Dawn Tower Dean Larson Debbie Dicker Deborah Sibony Deirdre White Diane Abt Diane Warner-Wang Dobee Snowber Dora Duan Eileen David Elaine Heron Elizabeth Geisler Elizabeth McKinne Ellen Brook Ellen Konar and Steve Goldband Evelyn Wester Fiorenza Gorini Frances Wren Gabe Narciso GayLynn Ribeira Hadi Aghaee Howard Hersh Irena Kononova James Groleau James Whitehouse Janey Fritsche Jenifer J Renzel Jennifer Anderson Jim Promessi Jonathan Crow Julie Carcione Julie Grantz Julie Kavanagh Julie Weaverling Karen Benioff Friedman Karen Cox Karen Mason Karen White Katherine Filice Kathleen Mitchell Kathryn Wills Kathy Dana Ken Fowkes Kim Smith Lei Min Leslie Landers Lonnie Zarem Louis Chan Lucy Beck Luiza Maia Magué Calanche Maria Kazanskaya Maura Carta Melissa Mandegarian Michael Acker Michael Endicott Michael Welch Michelle Mongan Mihail Kivachitsky Mitchell Johnson Ni Zhu Pablo Villicaña Lara Patricia Jones Patricio Jimenez Patrick Samuels Peter Carey Philip Rosenthal Rachel Davis Renée Switkes Robyn Freedman Rosalinda Taymor Roston Johnson Sabin Filip Samuel Price Sandra Speidel Scott Johnson Shirley Manfredi Sriharsha Annadore Stanislava Chening Stanley Peterson Stephanie Thwaites Susan Costes Susan Friedman Suzette McDonough & James Whitehouse Vivian Patton Ward George Yen Yen Tay Youming Cate Best in Show Winner Dean Larson Urban Light , 2023, oil, 42 x 50. Category: Painting 1st Jim Promessi The Fourth in Sonoma, 2023, Oil, 38 x 32. 2nd Julie Kavanagh Abundance , 2024, Oil, 24 x 24. 3rd Ni Zhu The Woman Who Sells Fish , 2019, Oil, 32 x 32. Category: Drawing 1st Vivian Patton A Perfect Moment, 2024, Pastel, 20.5 x 29.5. 2nd Julie Grantz Wishbone Study , Charcoal Drawing, 2024, 24 x 16. 3rd Gabriel Narcisco Lost in Ikea, 2023, Ink, 11.5 x 14.5. Category: Photography 1st Stanislava Chening Portrait Of a Youth Through Time, 2022, Photography, 18 x 22. 2nd Dora Duan Away, 2024, Photography, 24 x 18. 3rd Ellen Konar & Steve Goldband Across, 2022, Photo Encaustic Pigment Print, 20 x 30. Category: Mixed Media & Printmaking 1st Magué Calanche Doblando La Realidad, Bending Realities, 2021, Mixed Media, 48 x 36. 2nd Christie Marks Mekong Sojourn, 2020, Mixed Media, 26 x 38. Sabin Filip Ends & Begins, 2023, Mixed Media, 34 x 55. 3rd Category: Watercolor 1st Peter Carey Chartres Cathedral, 2024, Watercolor, 22 x 26. 2nd Pablo Villicaña Lara Silver Heart, 2022, Watercolor, 31 x 25. 3rd Louis Chan Prayer, 2016, Watercolor, 21 x 31. Honorable Mentions Eileen David Green Hillside, 2022, Oil on Canvas, 31 x 51. Abel Manalo Allure, 2019, Watercolor Handwoven, 21 x 17. Lonnie Zarem Truckee River Raging, 2024, Encaustic Monotype, 36 x 60. Diane Abt Breakthrough, 2024, Painting, 44 x 32. Daniela Schweitzer Thriving, 2023, Acrylic on Canvas, 60 x 60. Stanley Peterson Mystery Girl, 2020, Oil, 30 x 24. Patricio Jimenez Evening Light, 2024, Oil, 26 x 32. Janey Fritsche Ocean Light, 2023, Ink & Oil, 30 x 30. Elizabeth Geisler Radiance, 2024, Acrylic, 28 x 28. Rachel Davis That's The Goddess, 2022, Painting, 40 x 36. Roston Johnson Roston Cremes (after Thiebaud), 2022, Oil on Canvas, 24 x 36. Director & Curator's Choice Curator’s Choice: Vanessa Callanta, Curator Deirdre White, Summer Had Inhaled And Held Its Breath Too Long , 2021, Oil on Panel, 30 x 36. This painting stands out to me as beautiful and, at the same time, horrifying. There’s this sense of dread and heaviness I feel while viewing it, but it has this morbid allure that keeps me hooked. I want to know what shape the deflated balloon once took, but am afraid to ask. The bold colors, while simultaneously grotesque and attractive imply a sense of illness and unrest. I love it and cannot look away. Director’s Choice: Preston Metcalf, Executive Director and Senior Curator Suzette McDonough James Whitehouse, Paparazzi Portrait #2, Mitch Huitema & Tim Holmes, 2022, acrylic, 36 x 48. I am often intrigued by partners who paint together. How does one project their vision in concert with another? It is an exercise in trust, and valuing the creativity of each. Suzette and James have made tandem painting one of their trademarks. Sometimes they will each paint the same subject, to be shown side-by-side, while at other times — as in this painting — they will each contribute to the same canvas. I am intrigued not only by the decisions each make in composing the overall whole, but in the daringness they take as a team in portraying some parts in completion, while others are left to our imagination, as if in fleeting visions captured by paparazzi’s cameras. Curator’s Choice – Bryan Callanta, Curator of Digital Programming Bounds, Float , 2023, Acrylic, 24 x 12. I enjoy this painting for its subject matter, it’s creativity, and uniqueness. I am intrigued as to why the whale is floating on the surface of the water. There is a heart on fire above the creature which may represent a passion or feeling of love. There are also scars on the whale’s head and body. What is it that the whale is ultimately seeking outside of its home? Want to be notified about future Salon Competitions? Sign up Today! Need more information? See Important Dates & Deadlines See the 2023 Winners

Cowell Gallery EXHIBITION The Big Red Chair Project Eve Page Mathias DATES: MAY 6 - AUG 13 YEAR: 2023 Previously on view in the Cowell Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. "There once was a big red chair in my living room. My sweet old dog, Luna, enjoyed sitting up on the back of it so she could look out the window. Luna passed, and the chair got old, too. Because this chair means a lot to me, I pushed it into my studio. It is a reassurance as I work that mv little one is still there and that there are cherished triends to come. This chair anchored me. It has become a symbol of where my place in the world was during the Covid crisis. Now, when I ask someone to sit in the red chair, it "connects the dots" between those missing moments when was separated from mv friends and loved ones. Then we all emerged and came back together. When it was okay to see folks and the mist cleared, we were allowed to see each other again... I began a project of portraits of my dear female friends. Why only women? I think it was because I missed them the most. I puzzled over this because also treasure my triends who are male, and certainl) would like to paint them. Maybe it is because there is the yearning - the aching of the soul - that I perceive as a part of the female psyche. This was a good place to start because it is where resonate as a female person. But I also missed myself as an individual, a unique human being. During Covid one was only a cipher, not someone interesting. We were all just "Things" with masks who might possibly be a spreader of the disease. or worse, die. We were reduced to robots doing our jobs on a digital platform, being parents who couldn't permit our expressions of love because we were afraid we could make our children sick. I taught at the college level and suddenly had to reduce my persona into a voice on a computer monitor. This is not healthy for a person who thrived by human contact. Thus, the Big Red Chair Project began." Eve Page Mathias https://www.tritonmuseum.org/bigredchairproject "My Queen" Previous Next

Uknown EXHIBITION Spellings of Gravitas Jeff Alan West DATES: FEB 1 - OCT 11 YEAR: 2020 Previously on view in the Uknown < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Previous Next

Unknown EXHIBITION A Recipe for Brown Skin Rupy C. Tut DATES: MAR 5 -MAY 1 YEAR: 2022 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION Previous Next

Rotunda Gallery EXHIBITION Social Realism in California Warren Chang DATES: MAY 22 - AUG 29 YEAR: 2021 Previously on view in the Rotunda Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Previous Next

< Back Hana Lock SEP 14 - JAN 5 Anatomica Hana Lock is the Best of Show winner for the 2023 Salon at the Triton. Her work is an intriguing mix of bizarre and sublime, depicting in great detail our delicate anatomy alongside or combined with other wonderful creatures such as rabbits, frogs, mice, snakes, wolves, beautiful plants and flowers - our connection to the natural world. Her work displays our vulnerability and forces us to confront what is inevitable - that, along with all over living beings, we will all die and decompose. However, this fate is not portrayed as something to be feared, but rather embraced as part of the natural rhythm of life and death. This exhibition will include a selection of 2D works by the artist. Artist Statement: Anatomica is a collection of paintings and drawings that draw inspiration from my love of anatomy and fascination with the transience of life, the inevitability of death, and the mystery of what lies beyond. My work offers a holistic view of the body by highlighting the beauty of its internal structures without shying from the grotesque. Referencing visual and philosophical concepts from Buddhism and European medieval funerary art, my art often features anatomized bodies being strewn across the composition as their viscera intertwines with flora and fauna. In my practice, I primarily use ballpoint pen, watercolor, and acrylic to create intricate and precise line work and vibrant, flat colors reminiscent of Japanese woodblock prints and Art Nouveau. I strive for precision and detail, and I believe that in addressing the formal and conceptual qualities inherent in line, I am effectively capturing the delicate intricacies of the natural and imaginative world. Previous Next

< Back Marc D'Estout JAN 18 - APR 19 A Singular Evolution: A 20 year survey of Marc D'Estout Marc D'Estout is a multi-disciplinary artist, curator, art director and designer who graduated with a MFA from San Jose State University. His extensive career includes exhibiting at numerous galleries throughout California and the United States, being featured in several art and design publications, and keeping an active art and teaching career. Artist Statement: Marc D’Estout earned an MFA degree from San Jose State University and has had a long career as a multi-disciplinary artist, curator, art director and designer. D’Estout is a Silicon Valley Creates Grant recipient and has also been awarded a Rydell Fellowship in Santa Cruz County. His work is currently represented by Jack Fischer Gallery in San Francisco, and he has exhibited at numerous venues including: San Francisco Arts Commission Gallery; Aqua Miami; University of Hawai’i Art Gallery; Red Gallery at Savannah College of Art and Design; Houston Center for Contemporary Craft; SFMOMA Artist’s Gallery; Palo Alto Art Center; Petersen Museum, Los Angeles; San Jose Museum of Art; de Saisset Museum, Santa Clara University; Richmond Art Center, California; Bedford Gallery/Dean Lesher Center for the Arts, Walnut Creek, California; San Jose ICA; NUMU (New Museum of Los Gatos); and the Museum of Art and History, Santa Cruz—as well as furniture and design galleries such and LIMN and Coup d’Etat in San Francisco and Gallery of Functional Art in Santa Monica. D’Estout’s works have been published in several art and design magazines, newspapers, books and catalogs. He is a featured artist in the Juxtapoz’ Car Culture book, and his work was used for the cover image and featured in the significant Graphis book Products by Design. The Thompson Gallery at San Jose State University produced a 48-page monograph chronicling 2-1/2 decades of Marc D’Estout’s art and design work. In addition to his studio work, D’Estout maintained an active design and teaching career. He most recently held the position of curator for the Museum of Craft and Design in San Francisco. For ten years he served as Director for Art and Design for UCSC Extension. Prior to that he held positions as contemporary art curator and exhibit designer for both the Monterey Museum of Art and the Triton Museum of Art. He has also taught a variety of art and design courses at San Jose State University, Santa Clara University, various community colleges in the Bay Area, and Anderson Ranch in Colorado. D’Estout has also served as a juror and guest curator for numerous galleries and arts organizations throughout California. Previous Next

< Back Nathan Oliveira JAN 11 - APR 19 Nathan Oliveira: Variations on Form Born in Oakland, California, Nathan Oliveira was a leading artist in the Bay Area Figurative Movement. Oliveira earned his bachelor's and master's degrees in fine art from the California College of Arts and Crafts (now California College of the Arts) in San Francisco. He was a professor of art at Stanford University for 32 years. Collaborations: In tandem with this exhibition, Pacific Art League of Palo Alto will also be showcasing another exhibition of Nathan Oliveira’s work - Origins of Flight: The Windhover Studies by Nathan Oliveira (February 7 - March 25, 2025). Artist Statement: Oliveira’s invented forms live just outside the realm of possibility. The artist Nathan Oliveira (1928-2010) liked to say that he thought of himself as an abstract artist whose work “had to be about something.” That “something,”—most often a human figure, but sometimes an animal, wing, head or mask—was the physical manifestation of Oliveira’s poetic imagination; an invented form that lives just outside the realm of possibility. Over the long span of his career Oliveira worked in a variety of media including painting, drawing, lithography monotype and sculpture, challenging himself to create forms with an air of mystery that allowed room for his viewers to find their own meanings. “I set it up to the degree that it gives you something recognizable to interact with,” he once offered, "and if you’re creative, you create your own metaphor.” The works on view at the Triton, selected from the artist’s estate by him son Joseph, will present examples of Oliveira’s evocations of form in both two and three dimensions. In the Cowell Room Gallery oil paintings ranging from small studies of faces to a monumental canvas from the "Windhover" series will demonstrate the artist’s engagement with the flexibility of the oil medium. A selection of bronzes—including masks and figures—will show how Oliveira’s painterly sensibility remained tangible in the sensitive surfaces of his three dimensional works. In the Triton’s Rotunda, where works on paper will be featured, examples of the artist’s "Imi" and "Santa Fe" watercolors of female figures will join a series of lithographs from the 1960s. Olivera’s fluid watercolors, in which he allowed the paint to form rivers and pools that soak into the paper then coalesce into figures, are among his most distinctive inventions. Committed to the idea that making art involved finding unique forms Nathan Oliveira: Variations of Form will offer a fresh opportunity for viewers to encounter the myriad forms of his personal universe and appreciate them on their own terms. Previous Next

< Back Laurus Myth JAN 25 - APR 27 Portals & Passages: An evolution of paintings, sculptures, and social magic Local artist Laurus Myth debuts Portals and Passages, her first solo exhibition at the Triton Museum of Art, 1505 Warburton Ave. (January 25 - April 27, 2025.) Portals and Passages is a reflection point, weaving together Laurus’ portfolio of work across disciplines. From vivid colors, patterns, and layered paintings evolving into sculptural forms, Myth leans into art to tell stories of connection and relationship. Myth’s visual language is influenced by nature, technology, and intuition as they use symbols to decode their experience. Portals and Passages transforms Triton’s Warburton Gallery with works that draw viewers through moments of connection. This expansive body of work bridges dualities: technology-nature, movement-stillness, internal-external, and day-night. Artist Statement: Laurus Myth is an Asian-American interdisciplinary artist raised in Silicon Valley. A born innovator, Myth follows a creative and intuitive path as she fabricates and curates intentional spaces. Drawn to sacred architecture and mental landscapes, her work is colorful, symbolic, and deeply immersive. Myth’s experiential practices birthed several installations she calls “Social Magic.” Visually drawing– these playful and often temporary installations invite us to connect with our narratives and become part of a larger story. The artist turns the museum's gallery into a spatial story with codes and keys leading us to places unseen. Portals and Passages distill the last decade of Social Magic into new queries, forms, paintings, and sculptures. Previous Next